JFK


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Film | Date: 1991 | Sortie du film: 1991 | Type: CD
 

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# Track Artiste/Compositeur Duration
1.Prologue4:00
2.The Motorcade5:14
3.Drummers' Salute2:55
4.Theme From JFK2:23
5.Eternal Father, Strong To Save William Whiting & J.B. Dykes1:19
6.Garrison's Obsession2:33
7.On The Sunny Side of the StreetSidney Bechet4:23
8.The Conspirators4:04
9.The Death of David Ferrie2:47
10.Maybe SeptemberTony Bennett4:03
11.Garrison Family Theme2:14
12.Ode to BuckwheatBent Lewis3:54
13.El WatusiRay Baretto2:41
14.The Winesses2:46
15.Concerto n° 2 For Horn & Ochestra K.417: 1 Allegro Maestoso Wolgang Amadeus Mozart6:29
16.Arlington6:29
17.Finale3:14
18.Theme From JFK (Reprise)2:23
 63:51
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JFK - 08/10 - Critique de Tom Daish, ajouté le (Anglais)
Another score from an Oliver Stone film, who seems to be becoming a Williams regular as before and since Williams has contributed scores for Born on the Fourth of July and Nixon. Starting with the prologue, which introduces the elegy for a dead president, the JFK theme played on solo trumpet. It is a melody that sounds so simple when it first appears but has a devastating emotional impact as it builds up through the orchestra. This is a much copied technique, most notably in Horner's Apollo 13. The theme is repeated as piano arrangements I the two tracks Theme from JFK, although both these tracks are exactly the same from what I can tell. As with the Nixon, there is a lot of conspiracy going on durig this film and so much of the score's running time is dedicated to conspiracy music, most notably in Garrison's Obsession and The Conspirators, the latter being reworked for use in Jurassic Park for Dennis Steals the Embryo. These function perfectly as music to make you paranoid and they do in fact work reasonably well on their own. The driving rythmns also perfectly match the determination of Costner's character to get to the bottom of the JFK conspiracy.

Perhaps the best parts of the score are dedicated to the actual assassination itself and the aftermath. The Motorcade builds as the event itself gets closer and closer until great dissonent tones appear through the pulsing strings and even bagpipes are used to make the orchestral texture so dense and chaotic as to be somewhat overwhelming. Some may find this track hard to listen to, but I find it fascinating how Williams makes the music dissonent and harsh and yet completely listenable, at least to my ears. Arlington is another standout cue, a gorseous elegy for strings that I believe accompanies the burial of JFK. It could perhaps be compared to Barber's Adagio for Strings, but this is all Williams and has the benefit of not being horrendously overused in other movies. The finale is perhaps the most upbeat part of the score and actually sounds joyful. This strikes me as a somewhat strange occurrence in a film of this type, but it doesn't clash too much with the general tone of the rest of the film.

Autres sorties de musique de JFK (1991):

JFK (1991)


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